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STUDIES IN ENGLISH CLASSICS 



TWELFTH NIGHT 



COPYRIGHT, 1916 

BY 

CHARLES M.STEBBINS 



Price, Ten Cents 



STEBBINS 8t COMPANY 

BROOKLYN N Y 



1427 UNION STREET 






8^7 

•«1 



TWELFTH NIGHT 

i. Questions for Study. — The study of Twelfth 
Night should lead to something more definite than 
a mere knowledge of the story element. Comedy 
derives its particular qualities from cleverness of dia- 
logue and oddity of characters, from surprises and 
incongruities m situations, and from peculiar plot 
complications. A proper study of the play, there- 
fore, should lead to an understanding of the different 
characters, their strength or frailties, the situations 
in which they are placed, and their motives in doing 
what they do. It will be well to observe from the 
beginning that the truly comic character represents 
a type entirely different from that of the tragic 
character. 

2. Answers to Questions. — A question may be 
answered in a single definitely worded sentence or in 
an explanatory paragraph. The single pointed sen- 
tence answer is of decided value, because it leads to 
clear thinking and concise exnression, two of the chief 
aims of English study. 

The paragraph answer is valuable practice, also, 
because it develops the imaginative powers by calling 
upon them to image more completely and to supply 



2 TWELFTH NIGHT 

the details. In developing the paragraph, take the 
single-sentence answer, and, using it as a topic sentence, 
develop it by supplying details, by giving instances or 
examples, or by making use of comparison and contrast. 

Example 

Question: What is the nature of the Duke's love for Olivia? 

Sentence Answer: Orsino's love for Olivia is of the fancy rather 
than of the heart. 

Paragraph Answer: Orsino's love for Olivia is of the fancy 
rather than of the heart. Ke is in love with the spirit of love, 
and the external charms of Olivia have pi: e ! his eye and en- 
chanted his imagination. He lives in the th ht of that, and 
feeds his fancy with the food of love. As a result he has sur- 
rounded her in his fancy with all the charms of his ideal. He 
really does not know her, and therefore is not acquainted with 
her true qualities. 

Act I 

i. Why does the music seem less sweet to the Duke when 
repeated ? 

2. Why does the Duke not wish to go hunting? 

3. What is the Duke's conception of Olivia? 

4. In what respect does Olivia's answer to the Duke's suit 
reveal extravagance ? 

5. What is the effect of Olivia's answer upon Orsino ? 

6. What reveals to us that the apparently serious situation 
presented in Scene I is not really serious ? 

7. What is the dramatic purpose of this scene? 

8. What is the situation at the beginning of Scene II? 

9. What hope is given Viola for the safety of her brother 
Sebastian ? 

10. What evidence is there that Viola is already personally 
interested in Orsino ? 

n. What is it that awakens Vi :er est in the Duke? Ji 



FEB 10 1917 ©CI.A455519 



to. 



TWELFTH NIGHT 3 

12. What seems to be Viola's purpose in disguising herself 
and serving the Duke? 

13. What does this scene indicate Viola's character to be? 

Scene III 

14. What quality of character is indicated by Sir Toby's first 
words? 

15. Why is this scene written in prose instead of verse? 

16. What is Sir Toby's reason for defending Sir Andrew 
Aguecheek ? 

17. What is Maria's conception of Sir Andrew? 

18. What is your conception of Sir Andrew's personal appear- 
ance? 

19. What are some of the incongruities of character in this 
scene ? 

20. What kind of girl is Maria ? 

21. What evidence do you find that Maria is personally in- 
terested in Sir Toby ? 

22. Why does Sir Toby wish to restrain Sir Andrew from 
departing ? 

23. By what means does Sir Toby persuade Sir Andrew to 
remain ? 

Scene IV 

24. Why does Viola wish to know whether the Duke is incon- 
stant in his favors? 

25. What has been the effect upon Viola of the Duke's un- 
clasping his secret soul to her ? 

26. Why does the Duke think Cesario a suitable messenger 
to Olivia? 

27. Why does Viola hesitate to act as messenger to Olivia? 

28. What is the nature of Orsino's regard for Cesario ? 

29. What is the dramatic purpose of this scene? 



TWELFTH NIGHT 



Scene V 



30. In what respects is the Clown humorous ? 

31. What evidence does the Clown give that he realizes Maria's 
interest in Sir Toby ? 

32. What evidence do you find here that Olivia has exaggerated 
her grief for her brother ? 

33. What trait of Malvolio's character is shown by his ex- 
pression of contempt for the Clown? 

34. What traits of character does Olivia reveal during her 
conversation with the Clown, Malvolio, and Sir Toby? 

35. Why is Viola so determined to see Olivia? 

36. What is the effect of Viola's determination on Olivia ? 

37. What is Viola's interest in seeing Olivia's face? 

38. What is the real reason for Olivia's rejection of Orsino's 
suit? 

39. What is it in Viola that wins Olivia's love ? 

40. What is there unexpected and incongruous in this scene ? 

41. What is the purpose of the last ten lines of the scene? 

3. Topics for Oral or Written Paragraphs. — Many 
of the topics given below may be treated from several 
viewpoints. For example, in dealing with Orsino's love 
for Olivia, our purpose might be to analyze it to discover 
whether or not it be genuine, to explain the effect of it 
upon Orsino, or to tell how the Duke's love fared with 
Olivia. It is evident, therefore, that the first thing to 
be considered is our purpose, or point of view. This 
should be stated as clearly as possible in a single definitely 
worded sentence. This sentence should become the topic 
of the paragraph and should be constantly held in mind, 
while the paragraph is being developed. , All material, 
no matter how interesting, that does not promote the 
development of the central thought should be rejected. 



TWELFTH NIGHT 5 

4. Beginning Sentences. — Topical, or beginning, 
sentences should contain only a single thought, which 
should be clearly, concisely, and forcibly expressed. 
Long, loose, and ambiguous sentences are to be avoided. 

Examples 
Topic: The Duke's love for Olivia. 
Beginning sentences might be: 

(a) Orsino's love for Olivia is purely fanciful. 

(b) Orsino does not really love Olivia; his fancy only has 
been charmed by her beauty. 

(c) Orsino's love for Olivia causes him to squander his time in 
sentimental amusements. 

(d) Orsino's love for Olivia has so taken possession of his mind, 
that he can do nothing but think of love. 

(e) Orsino's love for Olivia did not prosper well. 

(/) Orsino's love found no response in the heart of Olivia. 

5. Preparing for Oral Paragraphs. — The careful 
preparation of one paragraph daily for oral presentation 
in class will do more to advance your oral English than 
any other kind of exercise. It increases the vocabulary, 
promotes ability in the ready construction of sentences, 
and develops judgment and skill in the selection and the 
logical arrangement of material. In preparation for this 
kind of exercise, first master the sentence containing the 
central thought. It may be committed to memory, if 
desired. Next, make a brief topical outline, which will 
suggest in their proper order all the material which should 
go to make up the complete paragraph. Finally, with 
the topical outline before you, develop the paragraph 
aloud two or three times before going into the recitation. 



6 TWELFTH NIGHT 

Example 

Topic: Orsino's love for Olivia. 

Beginning Sentence and Paragraph: The Duke's love for 
Olivia caused him to do many sentimental things. He became a 
slave to his fancies, and dreamed night and day of Olivia, sur- 
rounding her with qualities which she did not possess. He re- 
frained from hunting and other healthful out-of-door exercises 
that he might listen to music and love songs. To his friends and 
attendants he could talk of nothing but Olivia and his love for 
her. And, unwilling to accept her rejection of his suit as an 
answer, he continued sending messengers to her until his very 
persistence wearied her. 

(The roman numerals in parentheses indicate the scene.) 

42. Orsino's Love for Olivia (use other beginning sentences). ■ 

43. Orsino's Conception of Olivia. 

44. The Duke's Surroundings. 

45. The Manner of Viola's Coming to Illyria (II). 

46. Sir Toby's Mode of Life (III). 

47. Sir Toby's Estimate of Sir Andrew. 

48. Maria's Estimate of Sir Andrew. 

49. Sir Andrew's Personal Appearance. 

50. A Description of Sir Toby (as you conceive him). 

51. Sir Toby's Plans with Regard to Sir Andrew. 

52. Maria's Desire to Reform Sir Toby. 

53. Orsino's Commission to Viola (IV). 

54. The Office of Clown in Shakspere's Time (V). 

55. Olivia's Clown. 

56. Olivia and her Servants. 

57. Olivia's Disregard for Orsino. 

58. Malvolio's Peculiarities. 

59. Viola's Reception at Olivia's. 

60. Viola's Plea for Orsino (V). 

61. The Comic Situation at the Close of Scene V. 



TWELFTH NIGHT 7 

Act II 

6. Questions for Study. — In answering the ques- 
tions that follow, be direct and forceful. Some questions 
may admit of more than one answer. In such cases, 
choose the one which seems preferable and be able to 
defend your choice. 

Scene I 

62. Why does Sebastian refuse Antonio's further companion- 
ship? 

63. Why does Sebastian speak freely with Antonio about 
himself and his fortunes? 

64. Wherein does Sebastian show modesty in his conversation 
with Antonio ? 

65. What is Sebastian's chief praise of Viola? 

66. What is there romantic in this scene ? 

Scene II 

67. What is Malvolio's feeling toward Viola? 

68. What evidence is there that Malvolio is a faithful servant? 

69. What does Malvolio do with the ring ? 

70. What convinces Viola that Olivia loves her ? 

71. What effect on Viola has Olivia's love for her? 

72. What does Viola realize the effect of Olivia's love to be 
upon Orsino's suit ? 

Scene III 

73. What seems to be Sir Toby's chief interest in life? 

74. Wherein is Sir Toby superior to Sir Andrew ? 

75. How does Sir Andrew's attention toward the Clown 
differ from Sir Toby's ? 

76. Why is Maria so distrustful at the revelry ? 

77. In what light does Malvolio look upon Sir Toby's carous- 
ing? 



8 TWELFTH NIGHT 

78. What traits of Malvolio's character are revealed in his 
remarks to Sir Toby ? 

79. How does Sir Toby take the threat of expulsion? 

80. Why does Maria become angry at Malvolio ? 

81. What weaknesses has Maria observed in Malvolio? 

82. How does Maria plan to take advantage of Malvolio's 
weakness ? 

83. How does Maria's design against Malvolio affect Sir Toby's 
feelings toward her ? 

Scene IV 

84. What is there false in the Duke's conception of love? 

85. What is there that is both comic and pathetic in this 
scene ? 

86. What evidence is there that the Duke has an unusual 
interest in Cesario ? 

87. This scene has been considered the finest in the play. 
Why? 

88. What new revelation is there in the Duke's character in 
Scene V ? 

89. What has the Duke declared to be the cause of his love for 
Olivia? 

90. What evidence do you find that Viola regards her own 
love as hopeless ? 

91. What new revelation is there in Viola's character to be 
found in this scene ? 

Scene V 

92. Why are Fabian and Sir Toby aroused against Malvolio? 

93. Why do Malvolio's hopes so arouse Sir Andrew? 

94. Why are Malvolio's hopes ridiculous? 

95. What in the situation is comic? 

96. Wherein is Malvolio clever ? 

97. What weakness causes Malvolio's discomfiture? 

98. How has Maria advanced her fortunes by her device 
against Malvolio? 



TWELFTH NIGHT 9 

7. Topics for Oral and Written Paragraphs. — In a 

clearly worded sentence state the most important 
thought that each topic suggests. Develop this thought 
into a topical outline for an oral paragraph. Be care- 
ful to observe sequence of tenses in both oral and written 
work. 

99. Sebastian's Situation. 

100. The Time of Scene I. 

10 1. Sebastian's Character. 

102. The Interview between Malvolio and Viola (II). 

103. Viola's Plight. 

104. The Revels of Sir Toby, Sir Andrew, and the Clown 
(III). 

105. Malvolio's Reprimand. 

106. Maria's Plan for Revenge. 

107. The Pathetic Situation of Viola (IV). 

108. The Duke's Advice to Viola. 

109. Malvolio's Vision of the Future (V). 
no. The Working of Maria's Device, 
in. Malvolio's Conceit. 

112. Malvolio as a Comic Character. 

113. Maria as a Comic Character. 

114. Sir Toby and Sir Andrew : a Contrast. 

Act III 

8. Questions for Study. — Strive to make your 
answers to these questions an improvement over your 
answers to questions on Act II. Enter more deeply 
into an understanding of plot and characters, and take 
pains to express yourself more completely and at the 
same time concisely. 



io TWELFTH NIGHT 

Scene I 

115. What is Viola's opinion of the Clown? 

116. Why are Sir Toby and Sir Andrew introduced into this 
scene ? 

117. How does Viola arouse Sir Andrew's jealousy? 

118. In what respect is Viola extravagant of speech? 

119. What does Olivia mean by the "last enchantment you 
did here"? 

120. What is Olivia's fear because of having sent the ring to 
Viola? 

121. What increases Olivia's fancy for Viola? 

Scene II 

122. Why does Sir Andrew desire to depart? 

123. Why does Sir Toby wish to detain him? 

124. How does Sir Toby persuade Sir Andrew to remain? 

125. What is Sir Toby's purpose in causing Sir Andrew to 
challenge Viola ? 

126. Why is the idea of a challenge by Sir Andrew humorous? 

127. What other factor lends humor to the challenge by Sir 
Andrew ? 

128. How does this scene prepare for an entanglement between 
the main plot and the minor plots ? 

Scene III 

129. What were Antonio's reasons for following Sebastian? 

130. How does Sebastian receive Antonio's love? 

131. What has been the nature of Antonio's offense against 
Orsino ? 

132. What purpose in the plot development does this scene 
serve ? 

Scene IV 

133. For whom has Olivia sent? Why? 

134. How has Maria prepared Olivia to believe Malvolio mad? 



TWELFTH NIGHT n 

135- Why does Malvolio appear to be actually mad? 

136. What is Maria's chief humorous trait? 

137. Wherein may Malvolio be considered to deserve his 
punishment ? 

138. What is the humor in Sir Andrew's written challenge? 

139. Why does Sir Toby wish to frighten Cesario with the 
challenge ? 

140. Why does Viola still plead Orsino's love to Olivia ? 

141. Why does Olivia call Cesario a friend? 

142. How does Viola receive Sir Toby's warning? 

143. How are Sir Toby and Sir Andrew punished later for their 
actions in this scene ? 

Scene V 

144. In what state is Sir Andrew at Sir Toby's report of 
Cesario ? 

145. What becomes of Sir Andrew's horse? 

146. Why does Sir Toby tell each duelist that the other has 
sworn not to do any injury ? 

147. How does the entrance of Antonio complicate the plot? 

148. To what does Cesario 's seeming ingratitude lead Sir Toby 
and Sir Andrew later ? 

9. Topics for Oral and Written Paragraphs. — In 

developing paragraphs on the following topics, remem- 
ber that, according to the principle of unity, a paragraph 
should contain only one central thought and should 
be developed from a single point of view. 

149. Imaginary Description of Olivia's Garden (I). 

150. Viola and the Clown. 

151. Viola's Interview with Olivia. 

152. The Incitement of Sir Andrew against Cesario (II). 

153. Maria's Report on Malvolio. 

154. Sebastian and Antonio (III). 

155. Malvolio before Olivia (IV). 



12 TWELFTH NIGHT 

156. Sir Toby's Plans regarding Malvolio. 

157. Sir Andrew's Challenge. 

158. Sir Toby's Management of the Duel. 

159. The Results of Antonio's Coming. 

160. The Plot Complications in Act III. 

161. The Comic Elements of Act III. 

Act IV 

10. Questions for Study. — Act IV still further 
develops and entangles the two plots of the play. In 
answering questions, take into consideration the bearing 
of preceding events. Endeavor to write strong, clear, 
unified sentences. 

Scene I 

162. What is the cause of the misunderstanding between Se- 
bastian and the Clown? 

163. How has the author prepared us for Sir Andrew's bold- 
ness in striking Sebastian ? 

164. What does the Clown intend to tell his lady? Why? 

165. Is Sir Toby a braggart ? Give reason for your answer. 

166. What is the effect of Olivia's words upon Sebastian ? 

167. What is there in Sebastian's character that would natu- 
rally please Olivia ? 

168. What preceding events have prepared the way for Sir 
Toby's surprise ? For Olivia's mistake ? 

Scene II 

169. How has this scene been prepared for earlier in the 
play? 

170. What is the change wrought in Malvolio? 

171. With whom do we sympathize in this scene? Why? 

172. Is the punishment of Malvolio pushed too far? Give 
reason for your opinion. 



TWELFTH NIGHT 13 

173. How does Maria's feeling against Malvolio differ from 
Sir Toby's? 

174. What has caused Maria's enmity against Malvolio? 

Scene III 

175. What is the nature of Sebastian's feeling toward 
Olivia? 

176. Why is Olivia in haste to be married? 

177. What is the dramatic effect of Olivia's haste to be married 
when considered in connection with her vow of seclusion for 
seven years ? 

178. What does Sebastian's readiness to marry Olivia tell of 
his character ? 

11. Topics for Oral and Written Paragraphs. — In 

the preparation of oral or written paragraphs on the 
following topics, take into consideration the relation of 
these events with those in the earlier acts of the play. 
Seek variety in sentence structure by introducing now 
and then a phrase or clause at the beginning of the 
sentence. Close each paragraph with a forcible sum- 
marizing thought. 

179. Sebastian in Olivia's Garden (I). 

180. Sebastian's Character. 

181. Olivia's Interference. 

182. The Clown as Sir Topas (II). 

183. Malvolio in Imprisonment. 

184. Sebastian's Perplexity (III). 

185. The Changed Olivia. 

186. The Increased Entanglement of Act IV. 



14 TWELFTH NIGHT 

Act V 

12. Questions for Study. — Act V furnishes a sys- 
tematic readjustment of the entangled threads of plot. 
The entanglement has already reached its height, but 
the complication is emphasized still further by bringing 
together all the persons involved. Consider the follow- 
ing questions from the viewpoint of the solution of 
difficulties. 

187. Why does the author withhold Malvolio's letter from our 
knowledge at the beginning of the scene ? 

188. Why has the Duke come to Olivia's house with Viola? 

189. What is the Duke's real feeling toward Antonio? 

190. What preparations has the author made for Antonio's 
release ? 

191. How does Antonio reveal his nobility of character before 
the Duke ? 

192. What is the effect of Antonio's charge against Viola? 

193. How can you explain Sebastian's being with Antonio for 
three months ? 

194. Was Antonio captain of the vessel on which Sebastian 
and Viola were wrecked, or of a ship which rescued Sebastian 
from the sea ? Give reasons for your answer. 

195. Before Olivia makes mention of the marriage, what reason 
has Orsino for believing that Cesario has been false to him ? 

196. At what point is the entanglement most intense? 

197. What is the Duke's opinion of Cesario after the testimony 
of the priest? 

198. What in Viola's previous demeanor makes the apparent 
falseness seem more base ? 

199. What is the effect of Sir Andrew's entrance on the serious- 
ness of the situation? 

200. Why does Sir Andrew call for no sympathy from us ? 

201. Explain whether Sir Toby has been properly punished. 



TWELFTH NIGHT 



IS 



202. How has the punishment of Sir Andrew and Sir Toby 
been provided for earlier in the play ? 

203. Why is Sir Toby angry at Sir Andrew? 

204. Why does Olivia throw a strange regard upon Sebastian? 

205. What raises Sebastian in our opinion ? 

206. Why does Viola hesitate to recognize her brother in 
Sebastian ? 

207. What evidence is there that the Duke did not really love 
Olivia? 

208. What preparation has been made for the Duke's genuine 
love for Viola? 

209. Why is Malvolio's indignation justified? 

210. How does Fabian win our respect ? 

211. Should Maria have been punished for her part in the mis- 
using of Malvolio ? Reason. 

212. Why is Twelfth Night a true comedy? 

13. Topics for Oral and Written Paragraphs. — Let 

paragraphs on the following topics explain clearly and 
straightforwardly the nature of the entanglements and 
their solutions. 

213. Viola's Predicament. 

214. The Duke's Mistrust of Viola. ' 

215. Olivia's Pain at Cesario's Denial. 

216. The Plight of Sir Andrew and Sir Toby. 

217. Malvolio's Indignation. 

218. The Future Relations of Sir Andrew with Sir Toby. 

219. The Propriety of Maria's Marriage to Sir Toby. 

220. Inconsistencies in Act V. 

221. The Prospect for Olivia's Happiness. 

222. Viola's Reward for Faithful Service. 

14. Suggestions for Longer Themes. — The sugges- 
tions for themes given below are designed to lead the 



16 TWELFTH NIGHT 

pupil to exercise thought in the selection and arrange- 
ment of material, to increase his power of expression, 
and to develop skill in handling the different forms of 
discourse. Some of the subjects based upon the play 
call for imaginative material. This should always be 
consistent with the events and spirit of the play. The 
aim, however, of all our study is independent creative 
effort. Therefore subjects for entirely original themes 
are given. In writing these, take advantage of ex- 
perience gained and of the principles learned in writing 
on themes based upon events of the play. 

Narration 

15. Essentials of a Good Story. — To be interesting 
a story should possess the following characteristics : 

Exposition. — This is an explanation of time, place, 
persons, and general circumstances. When this in- 
formation is given at the beginning of the story, it is 
called an introduction. Frequently, however, much of 
this information is reserved until a later point in the 
story. 

Exciting Moment. — As near to the beginning of the 
story as possible there should be placed a statement that 
will excite the interest of the reader and cause him to 
look forward eagerly to coming events. 

Complication. — The plot begins with the exciting 
moment, and should proceed by introducing elements of 
conflict in such a way that doubt is cast on the outcome. 
Everything introduced, however, should point toward 
the outcome. The story should move all the time. 



TWELFTH NIGHT 17 

Climax. — The culmination of the story should be a 
natural result of the events in the complication, and 
should satisfy the reader's curiosity ; yet the nature of 
it should be a surprise. In other words, its exact na- 
ture must not be foreseen. 

Conversation. — Force and naturalness is added to a 
story by the use of real conversation. The conversa- 
tion, however, should be of a nature to advance the plot. 

Characterization. — The words and actions of persons 
should be reported in such a manner that the reader 
will understand how and why, and see the motive behind 
words and actions. Long direct characterization should 
be avoided. 

Description. — Brief descriptive touches should be 
introduced to picture an unusual situation, a striking 
position, a characteristic facial expression, or to explain 

the setting. 

Examples 

Subject: How Viola won the Duke. 

Exposition: How Viola came to Illyria. 

Exciting Moment: Viola's going to serve, with the prospect of 
loving, the Duke. 

Complication: Viola's love for Orsino, Orsino's love for Olivia, 
and resulting events up to the condemnation of Viola by the 
Duke. 

Climax: The meeting of Viola and Sebastian. 

In writing this story the chief problem will be the 
elimination of material not essential to the single story 
of Viola. In the play two plots are woven together. 
Omit everything that does not move directly toward 
the desired climax. 



18 TWELFTH NIGHT 

In a similar way write stories on the following : 

i. How Maria won Sir Toby. 

2. How Olivia came by a Husband. 

3. The story of an American girl or youth stranded in France 
during the great war. 

4. Lost in a Snow-storm in the Mountains. 

Description 

16. Essentials of Description. — The characteristic 
elements of good description are the following : 

1. Purpose or Central Idea. — In describing any 
particular thing our purpose might be to give informa- 
tion with respect to form, size, and general appearance ; 
it might be to impress one with the beauty of something ; 
or it might be to characterize a person or give a setting 
to a story. 

2. Fundamental Image. — The beginning of a de- 
scription should furnish the reader with a general out- 
line, or general impression of the object described. 
This fundamental image must be preserved throughout ; 
the details must fill it in and make it more complete. 

3. Point of View. — In writing description, it is 
necessary to keep in mind the point from which the 
person views the object described. Into the theme 
should be put only those things that could be seen from 
the position selected. For example, it would not be 
natural to speak of the color of a person's eyes, if that 
person were being described as seen at a distance. We 
may describe from a fixed point of view, a moving 
point of view, or an omniscient point of view. The 



TWELFTH NIGHT 19 

omniscient point of view is that of the author, who 

knows everything about his characters. 

Example 

Subject: Viola with the Captain on the Sea Coast. 

The Purpose; It might be to describe the scene with a view 

to emphasizing the danger 1 1 dch Viola bad escaped. 

Fundamental Image: A rocky coast, a tempestuous sea, with 
a wrecked ship in the bad i, and Viola and the Captain 

as the center of interest. 

Point of View : De t erm [ : t e for yourself. 

In develop^ r . ;me 011 this subject, be careful 

to present a picture, not to tell a story. Pay particular 
attention to a'3 I to vocabulary. Use 

descrip tive adjectives. 

In a similar manner wri te on the following : 

1. A Scene at Orsino's Palace. 

2. A Scene in Olivia's Garden. 

3. A Storm in the City or in the Mountains. 

4. The st Street in (fill in the blank). 

5. A Desolate Winter Scene. 

Exposition 

17. Essentials of E — The purpose of ex- 
position is to explain something to others so tr. bey 
will understand it properly. To accomplish ur- 
:.,, the folio;, ng dii gs are : :ial : 

1. Clear Knowledge of the Subject. — We must have a 
clear knowledge of our subject before we can attempt 
to make it clear to others. 



20 TWELFTH NIGHT 

2. Careful Arrangement. — Material must be grouped, 
so that ideas belonging together will not be scattered, 
and so that the important ideas will stand out promi- 
nently. 

3. Clear Expression. — Much depends upon the 
choice of words. In exposition, definite specific words 
should be used. Sentences should be direct and simple. 
Ideas should be so clearly expressed that misunderstand- 
ing is impossible. 

Example 

Subject: Comic Characters in Twelfth Night. 

There are three types of comic characters in Twelfth Night. 
One type depends for its comic element upon whims, foibles, or 
extravagant ideas; another, upon personal delight in fun making 
and in merriment ; a third, upon ignorance or stupidity. Study 
the persons of the play and group them according to this classi- 
fication. Arrange these groups in such a way that your theme 
will begin and end with important ideas. In writing the com- 
position, make it clear when you pass from one group of charac- 
ters to another. 

In a similar manner develop a theme on one of the 
following subjects : 



Comic Situations in Twelfth Night. 

The Trials of Housekeeping. 

The Pleasure of the Country in Summer. 

Amusements in the City in Winter. 

Opportunities for Boys in America. 

The Ideal School. 

The Ideal Course of Study for a High School. 



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